I know all of you, like me, will be watching tonight’s 89th annual Major League Baseball All-Star Game, and… wait, what’s that? You say you WON’T be watching the All-Star Game? You have no interest in baseball? Heretics!! But I understand, I really do, and for you non-baseball enthusiasts I’ve assembled a quartet of Pre-Code films to view as an alternative, starring some of the era’s most fabulous females. While I watch the game, you can hunt down and enjoy the following four films celebrating the ladies of Pre-Code:
DAUGHTER OF THE DRAGON (Paramount 1931; D: Lloyd Corrigan) – Exotic Anna May Wong stars as Princess Ling Moy, an “Oriental dancer” and daughter of the infamous Dr. Fu Manchu (Warner Oland)! When Fu dies, Ling Moy takes up the mantle of vengeance against the Petrie family, tasked with killing surviving son Ronald. Sessue Hayakawa (BRIDGE ON THE RIVER KWAI) plays Chinese detective Ah Kee, assigned to Scotland Yard to track down the last of Fu’s organization, who falls in love with Ling Moy. This was the last of a trilogy of films in which Oland portrays the fiendish Fu (1929’s THE MYSTERIOUS DR. FU MANCH, 1930’s TH RETURN OF FU MANCHU), and though he perishes early on, honorable daughter Wong is just as devious as dear old dad! Director Corrigan and cinematographer Victor Milner do some interesting work with shadows and light, overhead shots, and camera angles; though Corrigan is best remembered today as a character actor, he directed 12 features (and one short) between 1930 and 1937, and is quite good behind the camera. A film that’s structured like a serial, with secret passageways, sadistic tortures, and definite horror undertones, fans of Anna May Wong won’t want to miss it. Fun Fact: Bramwell Fletcher, who plays Ronald, was the actor who “died laughing” in 1932’s THE MUMMY .
MILLIE (RKO 1931; D: John Francis Dillon) – For a brief, shining moment in the early 1930’s, sad-eyed beauty Helen Twelvetrees was one of the Pre-Code Era’s most popular stars, gaining fame in a series of “women’s weepies”. MILLIE was my first chance to see this actress I’d heard so much about, and she excels as Millie Blake, who we first meet as an innocent college girl who marries rich Jack Maitland (Robert Ames), has a child, then discovers he’s a cheating cad. Getting a divorce (and giving up custody in the process), Millie’s next beau also turns out to be a two-timer, causing her to declare her independence from men and become a wild party girl. Years pass, and her now 16 year old daughter (Anita Louise) is almost compromised by one of Millie’s ex-lovers (John Halliday ), whom Mama Bear Millie shoots, leading to a scandalous trial. Joan Blondell and Lilyan Tashman are on hand as Millie’s golddigging pals (see picture above), and director John Francis Dillon knew his soapy stuff, having also guided Pre-Code ladies Ann Harding (GIRL OF THE GOLDEN WEST), Evelyn Brent (THE PAGAN LADY), and Clara Bow (CALL HER SAVAGE). MILLIE’s a bit dated (okay, more than a bit) and slow going in places, but Miss Twelvetrees made it all worthwhile. Fun Fact: Edward LeSaint plays the judge, and made a career out of magistrate roles; Three Stooges fans will recognize him from their 1934 short DISORDER IN THE COURT.
THE STRANGE LOVE OF MOLLY LOUVAIN (Warner Brothers 1932; D: Michael Curtiz ) – “I’m a pretty bad egg”, says Molly, but Ann Dvorak (SCARFACE, THREE ON A MATCH, HEAT LIGHTNING) is a pretty good actress, starring as poor working girl Molly, who gets pregnant and jilted, gives up her child, and hits the road with small-time crook Leslie Fenton. She leaves the bum to work in a dance hall, encountering naïve young Richard Cromwell. Fenton shows up, steals a car, kills a cop, gets shot himself, and Molly and the starry-eyed kid take it on the lam. Dubbed “the beautiful brunette bandit” by the press, Molly dyes her hair blonde, and the pair lay low… until fast-talking reporter Lee Tracy makes his appearance! There’s great chemistry between Dvorak and Tracy in this racy, double entendree-laden little movie, with a dynamite twist ending I did not see coming. It’s also packed with Familiar Faces: Ben Alexander, Louise Beavers, Richard Cramer, Guy Kibbee , Hank Mann, Frank McHugh , Charles Middleton, and Snub Pollard all pop up in small roles. This lightning-paced entry is an unjustly neglected Pre-Code gem that deserves a larger audience! Fun Fact: A newspaper headline misspells Molly’s last name as “Louvaine”.
SMARTY (Warner Brothers 1934; D: Robert Florey ) – Queen of Pre-Code Joan Blondell is back, and therapists would have a field day with her character of Vicki, a manipulative minx who equates being hit with being loved. Before you jump out of your skin, this is a romantic comedy – now you can jump! S& M overtones abound, and sexual innuendoes fly freely, as Joan’s incessant teasing of hubby Warren William (including a reference to “diced carrots”, obviously a penis size dig) leads him to slapping her face at a bridge party, and Joan winding up married to her divorce lawyer, Edward Everett Horton , who she also tortures into smacking her – but it’s a ploy to get back together with Warren! The censors must’ve been apoplectic viewing SMARTY, one of the last films in the Pre-Code cycle, as Joan also appears in various stages of undress, a voyeur’s delight. Despite the kinky subject matter, the movie is quite funny, with solid support from Claire Dodd, Frank McHugh, and Leonard Carey. Let me be clear: hitting women is NOT funny, but you’re doing yourself a disservice in letting that stop you from watching this outrageous screwball comedy. Fun Fact: Look fast for Dennis O’Keefe in one of his early, uncredited parts as a nightclub patron.